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الرئيسية > العلامة الدرامية للمكان في الع...>مارك

العلامة الدرامية للمكان في العرض المسرحي المعاصر

العنوان بلغة أخرى: Dramatic Signs of Place in Contemporary Classical Shows
المصدر: مجلة الأكاديمي
الناشر: جامعة بغداد - كلية الفنون الجميلة
المؤلف الرئيسي: موسى، كاظم عمران (مؤلف)
المجلد/العدد: ع73
محكمة: نعم
الدولة: العراق
التاريخ الميلادي: 2015
الصفحات: 65 - 84
DOI: 10.35560/jcofarts73/65-84
ISSN: 1819-5229
رقم MD: 1115477
نوع المحتوى: بحوث ومقالات
اللغة: العربية
قواعد المعلومات: HumanIndex
مواضيع:
العروض المسرحية | النصوص الدرامية | الفنون المعاصرة | النقد المسرحي
رابط المحتوى:

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LEADER 03058nam a22002297a 4500
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024 |3 10.35560/jcofarts73/65-84 
041 |a ara 
044 |b العراق 
100 |9 599542  |a موسى، كاظم عمران  |g Musa, Kazem Imran  |e مؤلف 
245 |a العلامة الدرامية للمكان في العرض المسرحي المعاصر 
246 |a Dramatic Signs of Place in Contemporary Classical Shows 
260 |b جامعة بغداد - كلية الفنون الجميلة  |c 2015 
300 |a 65 - 84 
336 |a بحوث ومقالات  |b Article 
520 |b When Theatre began to use the signs as messages delivered to the recipient revealing the boundary of the aesthetic side to the relationship between the audience and the scene event- a place which is considered the region of actor’s active creativity through the signs that he broadcasts so as to achieve the requirements of the dramatic position drawn by signs and symbols. These signs and symbols become a central collective image developed by the actors. Signs are developed with the development of the society and the multiplicity of patterns relationship between the individual and his environment, the progress of the technical elements of the show, and the emergence of theatrical styles and trends of the play accompanied with theoretical, technical and aesthetic studies and experiments. These experiments enable the theatrical actor to act in accordance with the absolute strategies of the signs which in turn establish different ways crystallized through ages and stages of the development of the art of the actor and theatre. Hence ,the artistic and aesthetic values of the place are changed in direction and acting depending on the signs of the actor and the place as a fundamental element and the dominance of other elements over the other from the ancient Greeks passing through classics and the theory of Saussure and Pierce and the latest theatrical experiences which focused on these signs and the ways of employing them in expressive images that free the unconscious feelings and unify them with ritual presentation. Hence, the aim of this research is to shed light on and spot the vast amount of dramatic signs on which the show is based, and though which present intellectual discourse speech full of symbols and signs. This speech is seen more than heard. This kind of discourse librates the language from the tyranny of the familiar logic, and it bypasses the formulation of pictures and movements. It transmits the receiver to untraded place stressing Rambo’s truth in which the real life is elsewhere. Hence, signs should be studied in terms of features and functions. 
653 |a العروض المسرحية  |a النصوص الدرامية  |a الفنون المعاصرة  |a النقد المسرحي 
773 |4 فنون  |6 Art  |c 007  |e Al-Academy Journal  |f Al-ākādīmī  |l 073  |m ع73  |o 2233  |s مجلة الأكاديمي  |v 000  |x 1819-5229 
856 |u 2233-000-073-007.pdf 
930 |d n  |p y  |q n 
995 |a HumanIndex 
999 |c 1115477  |d 1115477 

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